Carrie Kahn – Page 18 – Spinning Platters

Film Review: Beautiful Boy

Break out the tissue: Carell and Chalamet are superb in wrenching addiction drama

David (Steve Carell, r.) comforts his struggling son Nic (Timothée Chalamet).

Screenwriter Luke Davies knows a thing or two about writing tearjerkers — his adapted screenplay for the missing boy drama Lion was nominated for an Oscar last year — so it’s no surprise that his follow up is equally adept at pulling the heartstrings. Also based on a true story, Beautiful Boy is a gut-wrenching portrait of a son’s battle with addiction and his father’s unwavering quest to help him. With Oscar nominees Steve Carell (Foxcatcher) and Timothée Chalamet (Call Me By Your Name) as the father and son, respectively, Belgian director Felix Van Groeningen scored in the talent department, and it’s hard to imagine two other actors doing justice to the roles. Continue reading “Film Review: Beautiful Boy“

Film Review: The Oath

Happy Thanksgiving? Not this year

Chris Powell (Ike Barinholtz, center) and his wife Kai (Tiffany Haddish, top r.) preside over a very tense family Thanksgiving.

Comedian Ike Barinholtz (best known as Nurse Morgan on The Mindy Project) makes his big screen writing and directing debut with The Oath, a very timely, very funny, yet very dark comedy in which he also stars. A razor sharp take on today’s charged political climate, Barinholtz’s pointed comedy resembles Jordan Peele’s (a producer here) Get Out in terms of its satiric edge. While some viewers may find the satire a little too grim, Barinholtz has definitely made a think piece worth talking about, and for that reason, his film is worth a look. Continue reading “Film Review: The Oath“

Film Review: Bad Times at the El Royale

Bad times at this hotel make for good times at the cinema

A disparate trio of guests (from l., Jon Hamm, Jeff Bridges, and Cynthia Ervio) wait to check in to Lake Tahoe’s El Royale hotel.

Mad Men fans still mourning the end of that show have reason to rejoice: Jon Hamm revisits the late ‘60s in Bad Times at the El Royale, a period noir mystery that has stylistic echoes of Matthew Weiner’s acclaimed series. Imagine if Don Draper were a southern appliance salesman (still with a deep secret, of course) instead of a New York ad man, and you’ve got a sense of Hamm’s role here. But Hamm’s return to a 1969 persona is just one small reason to see this well-crafted and well-acted thriller, which has retro style and clever twists to spare.

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Film Review: A Star is Born

Lady Gaga, not Cooper’s debut film, is the real Star here

Mega star Jackson Maine (Bradley Cooper) and up-and-coming singer Ally (Lady Gaga) bond over songwriting.

What do the years 1937, 1954, and 1976 have in common with 2018? They, too, all had versions of the film A Star is Born playing in cinemas. Whether or not the movie-going public really needs a third remake of the 1937 original is up for debate (the ’54 and ’76 versions famously starred Judy Garland and Barbara Streisand, respectively), but actor Bradley Cooper apparently felt strongly that 2018 is the right moment for another try. He makes his writing and directing debut here, directing himself in a modern version of the classic story that, while showcasing the incredible talent of his co-star Lady Gaga, brings nothing fresh or extraordinary to the well-worn tale.

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Film Review: Life Itself

Your life itself deserves better than this trite, facile disaster

Abby (Olivia Wilde) and Will (Oscar Isaac) are so very much in love. Too bad they’re in a Dan Fogelman drama.

I’m trying to come up with one kind thing to say about Life Itself, the new movie from writer/director Dan Fogelman, creator of television’s weep-inducing phenom This is Us, and all I can come up with is, boy, Oscar Isaac sure is nice to look at. When one of the film’s characters proclaims outright, “This is some deep philosophical shit,” you know you’re in trouble. Fogelman commits the cardinal screenwriting sin of telling (and over and over and over, mind you) rather than showing, and the result is a cringe-inducing, treacly, overwrought mess of a picture that even This is Us fans will do well to avoid.

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Film Review: A Simple Favor

Feig’s Favor to you: A twisty, stylish picture with a sly sense of humor

Suburban moms Stephanie (Anna Kendrick, l.) and Emily (Blake Lively) become fast friends over martinis.

“Secrets are like margarine: easy to spread; bad for the heart,” muses perky mommy vlogger Stephanie (Anna Kendrick) in director Paul Feig’s new film A Simple Favor, and does that ever prove to be a prophetic understatement. Feig, best known for helming the comedies Bridesmaids and The Heat, brings a breezy, stylized light touch to the film adaptation of Darcey Bell’s 2017 debut mystery thriller of the same name. The result is a mostly successful mash up of black comedy and icy noir that, despite similarities to better films, still manages to be a wickedly fun good time.

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Film Review: The Wife

Close’s powerhouse performance elevates marital melodrama

Joan (Glenn Close) reacts as her husband Joe (Jonathan Pryce) receives some good news.

What sacrifices are acceptable for the sake of art? For marriage? Swedish director Björn Runge explores these questions in his new film The Wife, which, if nothing else, may become the film most remembered for netting six-time Academy Award nominee Glenn Close her first Oscar. Close’s performance is the best reason to see the picture, which manages to thoughtfully present serious themes while teetering on the edge of melodrama.

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Film Review: BlacKkKlansman

Lee’s tonally uneven picture diminishes impact of relevant, astonishing true story

Colorado Springs detective Ron Stallworth (John David Washington) infiltrates the local chapter of the Ku Klux Klan.

Released just two days before the one year anniversary of the deadly Charlottesville, VA white nationalist rally and this Sunday’s “Unite the Right” white nationalist DC march, and coming on the heels of the recent Proud Boys/Patriot Prayer “Western chauvinist” gatherings in Portland and Berkeley, director Spike Lee’s polemical new film BlacKkKlansman is both relevant and disheartening in the way it reveals how little has changed in the 40+ years since the based-on-a-true story takes place. That the film’s message remains topical and necessary is indisputable; that it’s executed so poorly, then, is a disappointment.

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SFJFF38 Spotlights #2: To Dust/The Last Suit/Simon and Théodore/Wajib/The Devil We Know

The 38th San Francisco Jewish Film Festival is going strong; it entered its second week today, and we’ve got five more spotlights for you (you can find our first round of coverage here). Below we profile four more feature films and one documentary. Complete programming and ticket information can be found here; now get out there and see some films before the Festival ends on August 5th!

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Film Review: Eighth Grade

The agony and the adolescence of middle school

8th grader Kayla (Elsie Fisher) spends much of her free time on her smart phone.

Regular readers of Spinning Platters may have noticed that I’m partial to coming of age films; The Way, Way Back is a personal favorite, and I had both The Edge of Seventeen and Me and Earl and the Dying Girl on my Top 10 lists for their respective years. But all three of those have now been pushed aside in favor of a new genre champion: writer/director Bo Burnham’s feature debut Eighth Grade sets a new standard for all future coming of age pictures. Filmmakers may as well concede now, because no other film will ever come close to measuring up to this exquisite masterpiece.

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